OutKast

OutKast, “Ms. Jackson”

This is, of course, an all-time jam. Also, it makes me remember this (sadly deleted) tweet, which is also nice.

[EDITOR’S NOTE: this image was lost during a changeover on the blog. At some point. Sorry to anybody reading this in the future. It was a screenshot of the “I’m sorry Miss Jackson / ooh / I am four eels / never meant to make your daughter cry / I am several fish and not a guy” tweet. IYKYK.]

OutKast, “Chonkyfire”

The conclusion to the classic Aquemini, the record where OutKast fulfilled their promise and delivered one of the greatest hip-hop records ever. That assertion is not diminished at all by the observation that it’s not entirely clear if it’s their best album. The number of artists who can make a legitimate claim to having made two all-time albums in their genre is a tiny number indeed.

James Brown, “The Payback”

I see what you’re doing shuffle, trying to slyly put forward a titan in a particular genre to imply that maybe there are lots of artists in the “two all-time albums” category. But here’s the thing: I don’t think it’s true of Brown. Obviously an incredible artist, and his work is foundational to funk and all. But his albums were a real mixed bag, with filler frequently padding things out. His live albums were generally his best work, because they tended to be greatest hits records. Or a comp like Star Time. But I don’t think it’s fair to include that in a greatest album discussion, so Brown kind of misses that criteria.

Steady Earnest, “Skin It Up”

Steady Earnest is an all-star band of Boston ska bands, most importantly featuring Dan Vitale of Bim Skala Bim on vocals. Because he fronts it, Bim is the closest comparison, and if you like one band, you’ll like the other for sure.

James Brown, “It’s a Man’s Man’s Man’s World”

After complaining about not being able to remember if we’ve had songs before, I can say: we definitely had this one. It’s too distinctive to not remember.

A Forest of Stars, “A Prophet for a Pound of Flesh”

The rolled Rs are a bit much, don’t you think, A Forest of Stars guy? There’s always a line that metal bands walk, where if they go too far and seem like they’re taking themselves too seriously, they cross into Theatre Kid territory. Now, you can lean into the ridiculousness, of course, and that’s fine and good and not what I’m talking about. It’s just if you get too dramatic and don’t seem to be tongue-in-cheek at all, well, it gets extremely silly.

Sunless, “Spiraling Into the Unfathomable”

There’s a sort of genre of bands like Sunless who kind of approach metal from a similar direction, but don’t seem to have a consistent name for their subgenre. Bands like Gorguts, Portal, Pyrron, and others are extremely dissonant and technical, but there’s not so much of the wheedle-wheedle-whee solo pyrotechnics that characterize tech death. So, as a descriptor, I kind of go with dissonant death metal, and that seems to work OK. As an ill-defined subgenre, though, I quite like the stuff.

Margo Price, “This Town Gets Around”

This album, Midwest Farmer’s Daughter, came out in 2016 on Jack White’s label, and is very much a throwback. It wears its inspiration on its sleeve, with Loretta Lynn’s influence heard everywhere in the music and of course the album title’s homage. Trying to live up to Lynn is of course a massive challenge, but Price does well. There’s nothing especially adorned about this album, it’s just very straightforward country, but it’s a lovely record.

Floor, “Find Away”

In some ways, there’s some real similarities between My Bloody Valentine and Floor. Both use a ton of guitar to sometimes disorienting effect, but leaven them with vocals that are kind of at odds with the overall tone. MBV uses dream-like vocals, and Floor uses clean singing (which is unexpected in something this heavy), but it results in a dual thing that gives them a really interesting feel.

The Meters, “Funky Miracle”

Mostly, when we get a funk track on here, I just pull the textual equivalent of a stink face. “Goddamn,” I’ll say, or “holy shit” or some other incoherent blurt. It conveys nothing about the music other than my elemental appreciation for it. I’d like to apologize for my limitations as a writer here. I don’t really know what I’m doing, or even why I’m doing it. I just like being connected to my music a little bit more, and this blog is a way to do that. And, if I may add: godDAMN.

Still on that train!

Merle Haggard, “Go Home”

Well, I certainly like to kick things off with a story about how a guy’s racist friends broke up his relationship. Just some real cheerful shit here!

The Coup, “Me And Jesus the Pimp In a ‘79 Grenada Last Night”

Oh, it’s gonna be like that? Let’s follow up that song with a kid whose relationships were totally warped by his mentorship from a pimp, who later beats his mother to death. Heartwarming!

WE’RE BACK AT IT! HIT IT, PLEXASAURUS REX!

Baroness, “Rays on Pinion”

This is how the first Baroness album opens up. While they’re usually grouped with metal, and in particular often brought up in the same breath as Mastodon, they’re not really the same thing. Yeah, there is some serious riffage in here, but the separation between this and, say, some of noise rock or post-punk isn’t exactly clear. Music categorizing is a sloppy thing, y’all. Anyway, this album is good! Listen to it!